British cartoonist Tim Sanders celebrates Palestinian life and resistance in London exhibition

"Checkpoint Jersualem - detaining youth" (2023). (Tim Sanders)
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Updated 21 March 2024
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British cartoonist Tim Sanders celebrates Palestinian life and resistance in London exhibition

  • Illustrations were produced during Sanders’ visit to the occupied West Bank last May
  • Cartoonists' work is an attempt to revive the practice of reportage illustration, drawing on locations or places in situ

LONDON: An art exhibition exploring the struggles and contradictions of Palestinian life has revealed the pride and resilience of a people living under occupation.

British cartoonist Tim Sanders is showcasing a collection of more than 30 drawings and photographs at the “Fragments of Palestine” exhibition, held at P21 Gallery in London.

The works were produced during Sanders’ visit to the occupied West Bank last May, when he joined a UK health worker delegation as an official artist in residence.




"The Apartheid Wall in Bethlehem" (2023). (Tim Sanders)

Through sketches and images of daily life in the occupied territories, the cartoonist has documented the Palestinian struggle to live under, and confront, a brutal occupation.

Sanders’ work is an attempt to revive the practice of reportage illustration, drawing on locations or places in situ to capture an observed subject, much like a photojournalist would with a camera. He believes that drawing is a less intrusive way of recording people and places.

In contrast with the often discomforting effect of having a camera pointed at a subject, Sanders found that locals, in seeing his sketches, generally welcomed his attention. This method requires deep introspection and a close engagement with surroundings, Sanders said, allowing him to uncover the cultural, social and political layers of a space.




"Hipster Settler" (2023). (Tim Sanders)

One illustration, titled “Hipster Settler,” portrays a fashionable Israeli settler — who had strolled past Sanders in Jerusalem — dressed in a jacket, vest and trousers, and carrying a semi-automatic rifle. The work conveys, through Sanders’ unique perspective on the scene, the particular “colonial arrogance” exhibited by settlers.

The exhibition reveals the ordinariness of Palestinian life under extraordinary circumstances. Despite living under Israeli occupation, people in the West Bank are shown persevering in their daily routines, like going to work, shopping, taking their children to school, or watching football.




"Soldiers and nurses" (2023). (Tim Sanders)

In another piece, "Soldiers and Nurses," Sanders depicts a moment during his hospital visit when Israeli troops barged in armed with weapons.

Sanders was struck by the sight of nurses simply walking past the soldiers, seemingly indifferent to their presence — an act the cartoonist interpreted as a form of resistance.

Through his work, Sanders aims to challenge the mainstream media’s often dehumanizing portrayal of Palestinian life. He reminds viewers of the humanity behind the headlines, emphasizing real people, suffering and resilience. His illustrations celebrate the beauty of Palestinian existence, from a favorite falafel stand in Hebron to schoolgirls chatting at a bus stop and flowers decorating balconies in Battir.




Battir Flowers (2023). (Tim Sanders)

“It seems such a contradiction, given the barbarity and the horror taking place, that it’s also a really beautiful place and a place which the inhabitants are so proud of and love so much,” Sanders said on the exhibition’s opening night.

“Even in refugee camps, people have this immense pride in the place where they live, you know. It’s extremely touching,” he added.

Sanders prefers to draw quickly and on-site, adding color to his sketches later. This technique imbues his work with a sense of immediacy and dynamism.

His depiction of young Palestinians in Nablus performing the dabke, the national dance, captures the energy and movement of the performers. “Fragments of Palestine,” an artistic representation of the idea that “to exist is to resist,” runs until March 13.




"Dabke girls" (2023). (Tim Sanders)

 


Young artist recreates memories with miniature homes

Young artist Shahd Al-Haq’s childhood in Makkah deeply shaped her sense of place and visual style. (Supplied)
Updated 27 July 2025
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Young artist recreates memories with miniature homes

  • As cities transform, Shahd Al-Haq is helping Saudis reconnect to the past using art

JEDDAH: As Saudi cities embrace rapid transformation and modernization, one young artist is lovingly recreating the homes, streets and stories of old neighborhoods in miniature form, to make sure their spirit is not lost in the process of change.

Shahd Nabil Jad Al-Haq, a 20-year-old artist with Palestinian roots and a Makkawi upbringing, is preserving the soul of disappearing communities through intricate models that celebrate memory, culture and identity.

Her project, “CYAN,” turns nostalgia into something you can see, hold and feel.

Jad Al-Haq’s passion for this kind of art began in childhood, but she developed it professionally in recent years. (Supplied)

“A house is not just walls … it’s moments and memories,” she told Arab News.

In recent years, entire neighborhoods in Makkah and Jeddah have been cleared to make way for smart, efficient and modern developments.

While these decisions are required from an urban planning perspective, the emotional toll has been heavy for some.

HIGHLIGHTS

• Shahd Jad Al-Haq, a 20-year-old artist with Palestinian roots and a Makkawi upbringing, is preserving the soul of disappearing communities through intricate models.

• One of her most touching projects was a model of a family house that was demolished in Jeddah’s old Hindawiyah district.

People — Saudis and non-Saudis alike — have lost more than just buildings; they have lost memories, neighbors, childhood alleyways and the homes that shaped their lives.

Young artist Shahd Jad Al-Haq’s childhood in Makkah deeply shaped her sense of place and visual style. (Supplied)

Amid this sense of loss, Jad Al-Haq found her calling.

“My dream was to study architecture. But through dioramas, I found my own way to connect that dream with art,” she said. “‘CYAN’ reflects who I am, how I feel and the places I miss.”

Jad Al-Haq’s childhood in Makkah deeply shaped her sense of place and visual style.

Jad Al-Haq’s passion for this kind of art began in childhood, but she developed it professionally in recent years. (Supplied)

“My love for old homes and everyday details comes from the world I grew up in. It’s something that shows clearly in my work,” she said.

The first model she created was of her family’s old home, which she gave to her father as a surprise.

“His reaction shocked me; his eyes filled with tears. He said I had taken him back in time. That’s when I realized this was more than just art; it was a responsibility,” she added.

My love for old homes and everyday details comes from the world I grew up in. It’s something that shows clearly in my work.

Shahd Jad Al-Haq, Artist

Al-Haq’s passion for this kind of art began in childhood, but she developed it professionally in recent years. That is when she launched “CYAN” as a cultural, artistic and business project.

Jad Al-Haq’s passion for this kind of art began in childhood, but she developed it professionally in recent years. (Supplied)

She works with materials like wood, cardboard, acrylic and foam, using fine sculpting tools and modern techniques like 3D printing.

“I don’t just work on how things look; I work on how this model will make people feel,” Al-Haq said. “The sound of a door, the sunlight through a window … I want to bring people back to their homes emotionally, not just visually.”

Her project has garnered considerable attention, both within and outside the Kingdom. She has received work requests from many countries and regions, including Kuwait, the UAE, Europe and even the US, from people who long for the homes they once lived in.

One of her most touching projects was a model of a family house that was demolished in Jeddah’s old Hindawiyah district.

“The reaction was unforgettable. There were tears and memories. It was a moment I’ll always carry with me,” Jad Al-Haq said.

Abdulaziz Al-Harbi, who received a miniature of his former Makkah home, said: “Honestly, I got goosebumps. I never thought a small model could move me this much.

“The tiny outdoor stairs reminded me of Eid, of my mom’s voice, of the fan shaking the ceiling. This is more than just a model; it’s a living memory. I told my family: ‘Look, this isn’t just a picture, it’s our actual house.’ Some of them cried, especially the older ones.”

Samia, known as Umm Suleiman from Jeddah, lived in her home for more than 50 years before it was demolished.

She said: “I was amazed, so happy and so thankful. This model brought back all my memories, my parents, my brothers, everything. The house was destroyed and turned into bare land, but this piece preserved the best part of my life.

“I even held a small party to unveil it like a treasure. Everyone cried, from the nostalgia, the love and the childhood we remembered. Shahd took us back 50 years. May she be as happy as she made us.”

Jad Al-Haq dreams of turning her project into a permanent exhibition that brings back the lost neighborhoods of Makkah and Jeddah.

“I want visitors to walk through the models and feel like they’re back in those streets. I want to preserve the memory and the sentimental value that these locations once had. We have to see the stories and the culture that’s still alive in our memories,” she said.

She hopes to integrate augmented reality to deepen the experience, and plans to launch workshops to share her techniques with others.

“A house is not just a place. It’s memory and identity. I hope my art tells everyone: ‘Your memories are worth preserving’,” she said.

 


Tributes pour in as Lebanese musician Ziad Rahbani dies at 69

Updated 26 July 2025
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Tributes pour in as Lebanese musician Ziad Rahbani dies at 69

DUBAI: Lebanese musician and playwright Ziad Rahbani, who was the son of iconic singer Fayrouz, died on Saturday at the age of 69.

Rahbani, who was born on Jan. 1, 1956, began composing for Fayrouz as a teenager and is the mind behind legendary songs including “Kifak Inta” and “Bala Wala Shi.” His father, composer Assi Rahbani, was a musical icon in his own right.

Considered one of the most influential voices in Lebanese music, Rahbani was also a fierce political commentator and was known for his biting political satire and political theater. Notable plays by Rahbani include “Nazl Al-Sourour,” “A Long American Film,” and “Bema Inno.” 

Lebanon's Prime Minister Nawaf Salam paid tribute to Rahbani in a post on X, calling him “an exceptional creative artist and a free voice who remained loyal to the values of justice and dignity.

“Ziad embodied a deep commitment to human and national causes,” Salam added. 

“On stage, through music and words, he said what many did not dare to say, and for decades, he touched the hopes and pains of the Lebanese people. With his piercing honesty, he planted a new awareness in the conscience of national culture.”


Saudi initiative Sound Futures seeks to bridge music industry gaps

Updated 26 July 2025
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Saudi initiative Sound Futures seeks to bridge music industry gaps

DUBAI: Saudi Arabia’s MDLBEAST Foundation is inviting regional entrepreneurs to take part in the 2025 edition of Sound Futures, an initiative designed to bridge the gap between music-related startups and investors.

The initiative aims to create local jobs, foster entrepreneurship, and accelerate the regional music economy by giving a stage to startups and entrepreneurs in the music and music-tech space to pitch their ideas to an audience of investors and industry experts during the XP Music Futures Conference, which will run from Dec. 4–6 in Riyadh.

“The music and creative industries in Saudi and the Middle East are evolving rapidly, but support systems for early-stage startups still lag behind at the moment … Sound Futures offers a timely platform for founders to gain access to mentorship, exposure, and possibly investment and funding to help bring their ideas to life or scale their businesses,” MDLBEAST’s Bader Assery told Arab News.

Applications are open to startups, budding entrepreneurs and even students from across the Middle East and North Africa region, with a focus on discovering the next big thing in music — innovations that could shape the future of music creation worldwide.

“One great example is Maqam Labs,” Assery explained. “They started with an idea in year one and returned the following year with a working physical synthesizer that brings Middle Eastern scales (Maqamat) into the world of electronic music.”

The initiative aims to “champion early-stage music startups. Whether they’re building tools for artists, fan engagement platforms, or music tech products,” with applications set to close by October.

According to Assery, key challenges faced by music startups in the region include financial concerns, as well as a lack of access to potential industry partners.

“Access is the biggest hurdle we’ve seen so far. Access to capital, the right mentors, industry partners, and even data. Founders also talk about the difficulty of validating their ideas in a market that’s still building its infrastructure,” he said, referencing issues Sound Futures seeks to address.


Saudi Arabia’s Ithra launches open call for $100,000 art prize

Updated 25 July 2025
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Saudi Arabia’s Ithra launches open call for $100,000 art prize

DHAHRAN: Artists across the region are invited to apply for the Ithra Art Prize, with $100,000 up for grabs and the chance to have their work displayed at one of the Middle East’s leading cultural institutions.

The King Abdulaziz Center for World Culture (Ithra) announced the open call for the seventh edition, with the head of the museum calling it one of area’s “most generous and influential” art grants.

Artists from across the Arab world can submit their proposals via the Ithra website, with a deadline of Oct. 16. This edition will also, for the first time, recognize five finalists with production grants. Their work, along with the winning commission, will be exhibited at Ithra’s headquarters in spring 2026. 

Launched in 2017, the prize initially focused on Saudi and Saudi-based artists but was expanded in its fourth edition to include contemporary artists of Arab heritage across 22 countries.

Farah Abushullaih, Ithra’s head of museum, told Arab News it served as “an open invitation to artists to speak in their own voice.”

She said: “We’re looking for proposals that reflect depth, authenticity and a clear vision. What stands out is work that is intellectually grounded and emotionally resonant.”

Both new commissions and re-contextualized existing works are accepted, provided they are closely linked to the artist’s ongoing research and creative trajectory. 

Applicants must be aged 18 or older and of Arab heritage or residing in one of the 22 Arab countries. Both individual artists and collectives may apply.

“The prize is about expanding the region’s cultural conversations through bold, original ideas. Ithra is committed to supporting them every step of the way, from conception to creation and beyond,” said Abushullaih.

The Ithra Art Prize has played a pivotal role in advancing contemporary art from the region since its inception. Past winners have displayed their works at leading cultural events including Art Dubai, the Diriyah Contemporary Art Biennale and the AlUla Arts Festival.

Abushullaih said: “Ithra continually evolves its programs to reflect the changing artistic landscape and needs of the Kingdom and the region. In the case of the Ithra Art Prize, this goes beyond funding; we offer a platform for dialogue, critical thinking and meaningful cultural exchange.”

She added sustaining this impact was an ongoing commitment. “It requires long-term investment in artists’ development, authentic community engagement and creating opportunities for works to resonate, both locally and globally. We want Ithra to be a meeting place for cultures to interact, share, and grow,” she said.

Looking ahead, Ithra is already in discussions to present the winner’s work beyond Dhahran.

“Partnerships and collaborations have always been central to how we develop our programs and extend the reach of the artists we support,” said Abushullaih.

“We are in dialogue with institutions based in Saudi Arabia and internationally to explore ways for the seventh edition of the prize to be seen by a wider audience and experienced in new contexts beyond Ithra.”


‘Imprints in a Changing World’ — highlights from the 9th cycle of Misk Art Institute’s residency program

Updated 25 July 2025
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‘Imprints in a Changing World’ — highlights from the 9th cycle of Misk Art Institute’s residency program

RIYADH: Selected artists from the ninth cycle of Misk Art Institute’s residency program in Saudi Arabia discuss their work.

Sarah Aljohani 

‘When Mud Whispers’ 

 Sarah Aljohani's 'When Mud Whispers.' (Supplied)

A native of the Saudi coastal city of Yanbu Al-Nakhil, Aljohani has extensive experience of restoring and building traditional mud-brick houses, and she continued that practice during her residency, researching various schools of thought about restoring buildings, from remaining entirely faithful to the original to starting from scratch and modernizing, to a middle ground that uses both traditional and modern techniques. The latter is what Aljohani favors. 

“I found this connection between family and these schools of thought in restoration — and a saying we always hear in Saudi culture: that the father is the roof of the house.” The saying alludes, she suggests, to the notion that just as a ceiling protects occupants from the elements, a father protects his family. “But that element was missing for me within my home. I had to go back, to research and understand what the concept of ceilings are in mud-brick houses in order to understand what a father is for a family,” she says. “I asked myself ‘How do I build this missing element in my ceiling? Do I build it in a traditional way like they did before?’ But I’m not a man. So I’m not able to build — in this traditional way — that missing element (of the father).”  

Aljohani’s installation is a representation of the interior of a mud-brick house, but one filled with mirrors and with frames — some empty, some holding pictures or Qur’anic verses, all coated in the same coloring as the mud walls — sourced from Riyadh’s Haraj Bin Qasim market. It is her way of encouraging women to take on leadership roles in their own style.   

Bushra Aljumah 

‘The Sound of Growing Grass Awakened Me’ 

Bushra Aljumah's 'The Sound of Growing Grass Awakened Me.' (Supplied)

The Saudi artist’s mixed-media installation is based around childhood memories of the sunlight striking iron window guards with floral designs, creating an image on the floor. It centers on Najdi architecture — specifically windows and doors.  

“What I found when I began my research is that a lot of it was influenced by India and Spain, but I was sure that there must have been something authentic and native to the people of Najd. So I decided to look into local farmland and the types of flowers that grow exclusively in the Najd area,” she says. Those flowers include Al-Athel, Al-Arfaj, and Calligonum. “I wanted to study the sanctity of agriculture, and how a flower is transformed from a living thing and passed down quietly throughout generations, becoming something fixed within our intangible heritage and a symbol of Najdi architecture,” she says. “This project takes a contemplative look at how things transform, how symbols are created in Najd.” At the center of the work is a metal lantern, adorned with floral designs. As the lantern spins, it reflects the design on the walls, marking the passage of time.  

Gadeer Hamed 

‘Endless Reflections, A Journey Through Sketchbooks’ 

(AN Photo/Abdulrahman bin Shulhub)

In her installation, the Saudi artist invites audiences into her diaries. At the center of the work are 30 sketchbooks, suspended by transparent nylon string, each telling a story from her family history, including her mother’s memory of her childhood in Jeddah’s Albalad, or her father’s memories of wells that were found in his village, Mastorah, into which people used to whisper their secrets.  

The floating sketchbooks are reflected in a large mirror below, symbolizing the illusion of infinity in stories and the continuity of memories. “I used mediums including watercolor and threads because I wanted the materials to be soft, just like the recollection of old memories,” says Hamed. “Thread also represents connection and was also used by my grandmother to sew.”  

Marija Dava 

‘Garden of Forgotten Songs’ 

Marija Dava and her installation 'Garden of Forgotten Songs.' (AN Photo/ Abdulrahman bin Shulhub)

“I’ve been looking (into) how language is connected to the land, and how the land becomes an archive of memory, and how it becomes something tangible, and almost medicinal,” says the Lithuanian multidisciplinary artist. Her research explored ancient ritualistic practices including Ruqyah — the recitation of Qur’anic verses for healing and protection.  

Her resulting installation involved several elements, one of which was participatory — asking visitors to imagine that their language was about to disappear, and to write down a single word they would want to remember. Those words were written on calligraphy paper with ink made from saffron. “The wall becomes an archive of collective memory,” Dava says. The texts were also washed in small ceramic bowls and the water used to irrigate soil. 

“It’s about interconnectedness,” the artist says. “It’s like a full circle — a connection back to the land. That’s something that I really want to highlight in my work, because I see this as a global issue: how we are disconnected from the environment, from nature, from ourselves as well. Yes, technological advancements are great, but they’re also affecting our communication.” 

The studio also featured a wall of objects collected on Dava’s travels in Saudi, as well as a photo series based on the concept of breath. Working from the idea that God breathes life into every soul, the artist inhaled smoke and spoke, capturing the shape it made in an effort to create a visual representation of breath. The images were then silk-screen printed. She also created a sculpture based on the smoke shapes.  

Ayça Ceylan 

‘Sandland Oracle: Codes of the Ancient Future’ 

Ayca Ceylan’s ‘The Sandland Oracle, Codes of the Ancient Future.’ (Supplied)

“My idea occurred to me in a dream,” the Turkish performance artist and environmental writer tells Arab News. In that dream, which occurred earlier this year, she was in the middle of the desert writing a poem in the sand. Part of the poem read: “I am the daughter of the crescent dunes/ Voice of seashells/ Vessel of codes.” Not long after, she saw Misk’s open call for the residency. “I saw the Al-Dahna Desert, which looks like a crescent, and many sand dunes inside that. Ayca, my name, means ‘crescent,’ so the first line appeared in my mind,” she explains.  

During her residency Ceylan created a multi-layered installation in which she reimagines the desert as a living archive. The center of the experience is an AI- and animation software-generated video installation showcasing an abstract depiction of the desert infused with the Arabic letter ‘noon.’ The walls of the room are decorated with sand and 3D-printed seashells modeled after shells found in AlUla.  

“I focused on the wisdom of sands and how ecology, technology, and mythology create collective feeling and a sustainable future,” Ceylan says.  

James Wagstaff 

‘What Will It Cost You If You Don’t Forgive’ 

James Wagstaff's 'What Will It Cost You If You Don't Forgive' (Supplied)

The Muscat-based British artist wanted to focus on the topic of forgiveness in his residency. It’s a theme he’s been contemplating for the past 15 years, both personally and on a community level. “I wanted to explore that in a deeper way during this residency, through different mediums, particularly through everyday objects that we can all relate to, and maybe looking for a shared language,” he says. “So when (people from) different backgrounds and cultures, see the pieces, it will promote dialogue around the topic.” 

The installation features a video of Wagstaff throwing sand at a large fan. The particles disperse in the wind as they fly back at the artist — a symbol of the impact that holding onto anger has. 

“Every single time, (the anger we throw out) blows back and hits us. It’s only damaging and hurting ourselves,” says Wagstaff. The work also includes a sphere with knives welded onto it to show the damage that “unforgiveness” can cause. 

‘Sidr’ 

'Sidr.' (Supplied)

The French-Kurdish artist researched how different plants survive in various climates and landscapes, particularly in the valleys of Riyadh. She focused on the native sidr tree and the acacia, which is imported. She combined this with her interest in ceramics.   

“I created some tiles inspired by farms. I did some research on ceramics, because clay is the first medium we can find in the landscape. I focused the research on glazing with ashes and natural pigments,” Kocabey says. 

Her installation features a charcoal drawing of a valley she visited during the residency, as well as plants that she researched. On another wall hangs a series of her ceramic pieces with different glaze formulations, displaying the diversity of life around us.